DOCSLIB.ORG

DECEMBER 1990 One Hundred and Ten Years

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PJJJM I: W N O V E M B E R - D E C E M B E R 1990 One hundred and ten years 1990 WILL BE REMEMBERED AS AN EVENTFUL YEAR. OUR FOCUS OF ATTENTION HAS BEEN DIRECTED TO ••A QUESTIONING OUR CULTURE. IDENTITY, HISTORY, CSA GALLERY ECONOMY, POLITICS AND FUTURE. THESE QUESTIONS AND A MULTIPLICITY OF VIEWPOINTS WERE THERE The Journal of the BEFORE 1990 AND WILL CONTINUE. THAT'S OBVIOUS, Canterbury Society BUT THE FOCUS EMPHASISED BY MASS MEDIA, of Arts 66 Gloucester "MAGIC MINUTES", "THE ISSUES", FORUMS, GAMES Street AND SO ON HEIGHTENS OUR SELF AWARENESS. IT Christchurch PRESENTS AN OPPORTUNITY TO REFLECT, WANTED OR Phone (03) 667 261, NOT (A BIT LIKE THE MORNING AFTER THE 40TH (03) 667 167 Fax (03) 667 167 BIRTHDAY PARTY) ON WHO Wc ARE, AND WHY. FOR THIS ISSUE OF PREVIEW WE HAVE BEEN DELVING Gallery Hours INTO OUR SCRAPBOOKS TO PRESENT A BIRTHDAY Monday - Saturday 10am - 4.30pm ISSUE, THE CSA IS 110 YEARS OLD. WE HAVEN'T Sunday 2pm - ATTEMPTED TO WRITE A HISTORY OR ANALYSIS, ITS A 4.30pm COMPILATION OF IMPRESSIONS. IF YOU WANT AN HISTORICAL ACCOUNT OF 100 YEARS OF THE CSA LOOK TO OUR HISTORY AVAILABLE FROM THE GAL- DIRECTOR'S THE TENDENCY HAS BEEN TO LOOK AT CON­ TROVERSIES, PERSONALITIES, ART, POLITICS AND COMEDY IN MORE RECENT YEARS. WE SOUGHT ANEC­ DOTES AND REMINISCENCES AND UNEARTHED PEREN­ NIAL ISSUES SUCH AS A NEW ART GALLERY FOR CHRISTCHURCH. WHILE ON THAT ONE CHRIST­ CHURCH MUST PROCEED WITH A NEW ART GALLERY AS SOON AS IS POSSIBLE. CHRISTCHURCH HAS GOT BEHIND MAJOR CAPITAL PROJECTS BEFORE SUCH AS QEII STADIUM AND THE REPORT TOWN HALL THAT HAVE GIVEN IDENTITY TO THE CITY. SO TOO, CAN A NEW ART GALLERY THAT WILL EMPHASISE EASE OF ACCESS TO THE VISUAL ARTS WITHOUT COMPROMISING PRO­ FESSIONAL AND MUSEOLOGICAL STANDARDS. WITH ENTREPRENEURIAL SPIRIT AND VISION CHRIST­ CHURCH CAN HAVE A GALLERY THAT WILL STIMULATE ECONOMIC GROWTH BY ATTRACTING BUSINESS AND SKILLED PEOPLE (AND RETAINING THEM) TO A CITY WITH A BELIEF IN ITS FUTURE AND A COGENT EXPRESS­ ION OF ITS CULTURE. ENJOY THIS ISSUE OF PREVIEW HOPEFULLY AS MUCH AS WE DID PUTTING IT TOGETHER, ALSO REFLECTING ON WHAT ISSUE 300 MAY CONTAIN. HOPEFULLY SOMETHING MAY REMAIN Cover: Gallery Staff CONSTANT AND REMINDS ME OF WHAT ART CRITIC Photo Peter Bannan HAROLD ROSENBERG WHO WROTE FOR THE 'NEW YORKER' HAD SAID TO CALVIN TOMKINS WHO TOOK C.S.A Preview is registered OVER ROSENBERG'S COLUMN TWO YEARS AFTER HIS at New Zealand SUDDEN DEATH IN 1978: Post Office Headquarters Wellington as a magazine. "REMEMBER, THE ART WORLD IS A COMEDY". ANDREW DRUMMOND Views of an artwork using performance process which would give a visual narrative to and a performance in a court room. the performance. These photos would later be confiscated by the police, destroying the In 1977 when completeness of the work. I was asked Central to all this was to be my nakedness. to make a Firstly I saw that by being stretched naked and LOOKING work for the splayed I would be in a vulnerable and 'Platforms' exhibition supplicant position. This was misread by the organised by Martin complainants as lewd and anti-Christian. The Mendelsberg and John nakedness would, I though bring into the open Cousins for the Christchurch misconceptions associated with the crucifixion BACK Arts Festival show at and practically allow me to casttheskin. Later the CSA. I remember in court the art historical facts relating to seeing immediate nakedness and the crucifixion were to play an possibilities with the important role in my defence. X cross platform. I set The performance took place in a back TO THEabou t preparing a room upstairs at the CSA on a Sunday work using this afternoon and was attended by around 50 people. During the performance I seem to remember it being a rather hushed and CRUCIFIXION attentive crowd somewhat, I suppose, involved in this quiet slow drama. Nicholas Still acted as platform and integrating some of the relevant my assistant, applying the rubber latex to my issues in my practice, namely the use of skin, torso. Dr. Carol Miles acted as the technical in this case rubber latex, and ideas relating assistant, monitoring the ECG.Paul Jones docu­ to the spirituality of the crucifixion. mented proceedings using a polaroid camera. I made some decisions which were to The performance become contentious lasted about an hour in another context and at the end I but generally the ripped the skin from work was going to my body, unhooked consist of me using the ECG and left the my body to casta room to prepare for skin of rubber latex my trip home to while lashed naked Wellington. Some to the cross and to be days laterwhen I was linked to an ECG preparing to depart monitor which would for a show in relay my physical Australia I was condition to the notified that the audience. I was police had seized the hoping that by using polaroids from show the anxiety caused by attheCSAand had my physical laid charges against condition and ideas thegallery for of meditation and displaying offensive bio-feedback that I material. Also, and could use the process more immediate for of creating a skin to me was that the police be dramatised on the were about to lay video ECG image. charges against me This also provided for acting offensively the life linktothe in a public place. second part of the work which was to be the residue, the artefact — a latex skin. I immediately left the country so as to fulfil After casting the skin and shedding it I my obligations in Australia and to give myself planned to leave it on the cross with an timetothinkthisthrough. Surely in 1978this electronic beeper, giving a 78 per minute beat, couldn't happen? Well it could and still is suggesting that life was still ongoing. I also happening to artists who dare to challenge the planned to leave photo documentation of the status quo. ENLIGHTENMENT IS ILLUSIVE J* X0. • she duly read to the court. Somehow her 9gf> position, manner and attitude changed a rather sour course of \ events and injected into ' the proceedings a semb- lanceofquiet academia. The magistrate however, was not to be without his day and adjourned the case with a reserved decision. Two weeks later his decision was given in fourteen pages of summation in which he provided an insight into the nature of the judiciary. He found the work to be, in his opinion, crude, immoral, offensive and in bad taste; and dismissed the case against me, reflecting the double standards practised throughout society. ILLUSIVE IS ENLIGHTENMENT The second crucifixion was to be played out in the District Court in Wellington some months later. The QEII Arts Council had provided me with counsel and were paying the bills of what was a test case for a visual artist in New Zealand. The charges againstthe CSA were to be delayed pending the outcome of my trial. The pressure was on in more ways than one. Somehow I had to get the complainants to see thatthey had misread the situation and then over-reacted. They were young, born again Christians and could only seethe nakedness and totally ignored the notion of thecrucifixion and its meaning to them! Then I had to convince the magistrate that I was serious in my endeavour and not in the slightest bit in awe of his power. The drama unfolded slowly and my attitude of contempt towards the duality of standards did not endear me to either the magistrate or my counsel. The mould had been cast and there was to be no change. Various peoplefrom both sides took the stand to explain my actions. A memorable witness was Janet Geddes, a curatorial researcher from the National Art ANDREW DRUMMOND Gallery. She had prepared a short essay on the history of thecrucifixion and nakedness which SEPTEMBER 1990 Zealand to take up farming instead of medicine owning property near Lake Te Anau and later near Kaikoura. In thex Second World War he served 1961 the 6th Independent Mounted Rifle Squadron and then in Tonga. C.S.A. As an amateur painter Rusty met Yvonne Rust BARBARA AND who conducted classes for adult education and also attended the School of Fine Arts part time ANDRE BROOKE where he was tutored by Rudi Gopas, Jack Knight and W A Sutton. As lively and enthusiastic supporters of the visual arts in Canterbury, Barbara and Andre Brooke Rusty spoke positively of the minimal CSA ran the first Christchurch dealer gallery in Cashel staff and has affection and gratitude for the then Street in 1959. Their intention was to promote the Treasurer, Malcolm Ott. Leaving the CSA on his more original artists of the day and introduce new eightieth birthday Rusty made the following young talents, but unfortunately 'Gallery 91' statment in the gallery newsletter which still holds lasted only eleven months. for today. This venture was followed by Andre's brief 'I feel the CSA is pursuing its right and proper term as secretary of the Canterbury Society of Arts policy in encouraging debutant(e)s to have ex­ which Barbara took over in 1 961. During her four hibitions and in showing also the work of year term in this position prolonged discussions established artists and in providing a platform for were undertaken to design and build a new young musicians'. gallery in Gloucester Street. With a strong interest in local body affairs Barbara went on to become a member of the Christchurch Transport Board and whilst at the Caxton Press in the late 1960s became co-editor of 'Ascent', a journal the arts, For five years^fl before her untimely death in .1980 she established with Judith Gifford the Brooke/ Gifford Gallery continuing her drive to build bridges between artists and the public.
Recommended publications
  • Ascent03opt.Pdf

    Ascent03opt.Pdf

    1.1.. :1... l...\0..!ll1¢. TJJILI. VOL 1 NO 3 THE CAXTON PRESS APRIL 1909 ONE DOLLAR FIFTY CENTS Ascent A JOURNAL OF THE ARTS IN NEW ZEALAND The Caxton Press CHRISTCHURCH NEW ZEALAND EDITED BY LEO BENSEM.AN.N AND BARBARA BROOKE 3 w-r‘ 1 Published and printed by the Caxton Press 113 Victoria Street Christchurch New Zealand : April 1969 Ascent. G O N T E N TS PAUL BEADLE: SCULPTOR Gil Docking LOVE PLUS ZEROINO LIMIT Mark Young 15 AFTER THE GALLERY Mark Young 21- THE GROUP SHOW, 1968 THE PERFORMING ARTS IN NEW ZEALAND: AN EXPLOSIVE KIND OF FASHION Mervyn Cull GOVERNMENT AND THE ARTS: THE NEXT TEN YEARS AND BEYOND Fred Turnovsky 34 MUSIC AND THE FUTURE P. Plat: 42 OLIVIA SPENCER BOWER 47 JOHN PANTING 56 MULTIPLE PRINTS RITA ANGUS 61 REVIEWS THE AUCKLAND SCENE Gordon H. Brown THE WELLINGTON SCENE Robyn Ormerod THE CHRISTCHURCH SCENE Peter Young G. T. Mofi'itt THE DUNEDIN SCENE M. G. Hire-hinge NEW ZEALAND ART Charles Breech AUGUSTUS EARLE IN NEW ZEALAND Don and Judith Binney REESE-“£32 REPRODUCTIONS Paul Beadle, 5-14: Ralph Hotere, 15-21: Ian Hutson, 22, 29: W. A. Sutton, 23: G. T. Mofiifi. 23, 29: John Coley, 24: Patrick Hanly, 25, 60: R. Gopas, 26: Richard Killeen, 26: Tom Taylor, 27: Ria Bancroft, 27: Quentin MacFarlane, 28: Olivia Spencer Bower, 29, 46-55: John Panting, 56: Robert Ellis, 57: Don Binney, 58: Gordon Walters, 59: Rita Angus, 61-63: Leo Narby, 65: Graham Brett, 66: John Ritchie, 68: David Armitage. 69: Michael Smither, 70: Robert Ellis, 71: Colin MoCahon, 72: Bronwyn Taylor, 77.: Derek Mitchell, 78: Rodney Newton-Broad, ‘78: Colin Loose, ‘79: Juliet Peter, 81: Ann Verdoourt, 81: James Greig, 82: Martin Beck, 82.
  • How the Canterbury Earthquake Sequence Led to a Departure from Concrete Technologies

    How the Canterbury Earthquake Sequence Led to a Departure from Concrete Technologies

    A CHANGE OF SCENE: HOW THE CANTERBURY EARTHQUAKE SEQUENCE LED TO A DEPARTURE FROM CONCRETE TECHNOLOGIES Morten Gjerde 1 School of Architecture, Victoria University of Wellington, P.O. Box 600, Wellington, 6140, New Zealand Over time, nature can expose even the slightest weakness. This became very clear following a sequence of unexpected earthquakes that struck in Christchurch, New Zealand earlier this decade. At the time the quakes struck, research and development with concrete building technology Canterbury had gained an international reputation and contributed significantly to the region's development. Structural and architectural innovation helped make concrete the material of choice for new commercial buildings. The paper outlines some of the key architectural and structural innovations evident in the buildings of the city. The earthquake sequence exposed several shortcomings in the design, construction and maintenance of buildings, including to several buildings that represent key moments along the innovation pathway. Now that the rebuild is well under way it is becoming clear with every building that is completed that the city’s visual character will be significantly different. The emerging character appears to be developing around the global materials of steel and glass, with concrete no longer featuring in the ways it had. The paper discusses the background to this departure and how it signals the end of a productive period of innovation with this local material. Keywords: Christchurch earthquakes, performance, concrete, disaster, innovation INTRODUCTION Throughout its brief history of post-colonial settlement, and prior to the widespread losses arising from the 2010-12 seismic sequence, Christchurch had gained a well-deserved reputation for the quality of its built environment.
  • Outside the Square: a Considered Approach to the Treatment of a Three-Dimensional Paper Object

    Outside the Square: a Considered Approach to the Treatment of a Three-Dimensional Paper Object

    Outside the square: A considered approach to the treatment of a three-dimensional paper object Ute Larsen and Camilla Baskcomb ABSTRACT Three-dimensional paper objects can cause quandaries for paper conservators who are accustomed to dealing with two- dimensional works, their structural aspect often requiring the collaboration of conservators and museum professionals from other disciplines. This paper describes the process of conserving a rare inflatable terrestrial paper globe and explores possible methods of displaying such an object. The early 19th-century globe is part of the Voyager New Zealand Maritime Museum’s (VNZMM) collection. Preliminary research has revealed that none of the few remaining examples of this type of globe held in international collections have been conserved to date. The unusual functional nature of this three-dimensional object and how this challenges the conservators’ conventional working methods will be explored. KEYWORDS globe, inflatable, paper, Pocock INTRODUCTION In 2001, during an impromptu tidy-up in the paper conservation studio at the Auckland Art Gallery Toi o Tãmaki (AAG), a box labelled ‘Handle like raw eggs’ came to light and sparked our interest. What was this folded, crumpled and torn work made from ultrathin tissue? After carefully unpacking it, we knew that we were looking at a map of the world in a rather unusual format and in a very poor state (see Figure 1). 2010 almost detached bamboo ring and several loose pieces. All components had been kept in an old cardboard box (see Figure 2). AI CC M B OO Figure 2 The bamboo ring and the South Pole before treatment.
  • Mihi Whakatau and Welcome

    Mihi Whakatau and Welcome

    Mihi Whakatau and Welcome Tāmaki herenga waka Tāmaki whai rawa Tāmaki pai Tāmaki Makaurau Ko ngā kurī purepure o Tāmaki e kore e ngaro i te pō On behalf of the Aotearoa New Zealand Association of Art Educators (ANZAAE) 2014 conference steering committee, it is my privilege to extend a warm welcome to you all. We are excited to be offering Te Aho I Muri Nei – Supporting Innovation as a forum in which we can all share ideas, perspectives and experiences and engage in constructive dialogue to expand our thinking and weave links that connect us to people, knowledge, theory and practice in the Arts. It gives me great pleasure to welcome so many distinguished guests and participants who have come from near and far to take part in our proceedings over the next three days. As a local, I welcome you to our city and hope you all have an opportunity to enjoy some of what Auckland has to offer. I would also like to take this opportunity to acknowledge and thank our host and major sponsor AUT, and in particular, the Art and Design School for partnering this conference. Your support has been a tremendous help in the shaping and success of Te Aho I Muri Nei – Supporting Innovation. We are privileged to share in your state of the art facilities and welcoming generosity. I hope that these next three days not only provides an opportunity to communicate, but also to collaborate - through interesting and fruitful discussions and conversations, fresh ideas and a new impetus for our work.
  • Here She Had Left Off, Although Her Limited Finances Kept Her Away from Paris

    Here She Had Left Off, Although Her Limited Finances Kept Her Away from Paris

    FIGURE 2.10 lead the society into closer relationship with avant-garde developments centring Alfred Wallis, The Steamer, c. 1930 on Paris. That same year, 1926, his wife, Winifred Nicholson (1893–1981), gained FIGURE 2.11 membership and it is she who first helped the society generate a more pronounced Christopher Wood, The Sloop Inn, St Ives, 1926 character. In her wake Cedric Morris and Christopher Wood (1901–1930) arrived at the Seven & Five in 1927, and David Jones (1895–1974) the following year. By 1929, when Frances Hodgkins achieved membership after being proposed by Morris, the society had become associated with a painterly lyricism, rooted in a combination of the romantic and the real. The desire for directness and simplicity encouraged a faux-naïve ingredient which, in the case of Ben Nicholson and Christopher Wood, had been partly encouraged by their discovery in St Ives of Alfred Wallis (1855–1942), a self-taught painter and former fisherman. In 1927 Ben Nicholson had asked the Tate Gallery curator H. S. (Jim) Ede, with whom he shared certain aesthetic interests, to write an introduction which would identify the new freedom which Seven & Five art promoted. Ede wrote: The line of the Seven and Five is, I think, to break quite clearly from the representa- tional in its photographic sense though not like the cubists to abandon known shapes. It is to use everyday objects, but with such a swing and flow that they become living things, they fall into rhythm in the same sort of way that music does, but their vitality comes through colour and form instead of sound and time.
  • 402 Montreal Street, Christchurch

    402 Montreal Street, Christchurch

    DISTRICT PLAN –LISTED HERITAGE PLACE HERITAGE ASSESSMENT – STATEMENT OF SIGNIFICANCE HERITAGE ITEM NUMBER 391 DWELLING AND SETTING– 402 MONTREAL STREET, CHRISTCHURCH PHOTOGRAPH: M. VAIR-PIOVA, 2014 HISTORICAL AND SOCIAL SIGNIFICANCE Historical and social values that demonstrate or are associated with: a particular person, group, organisation, institution, event, phase or activity; the continuity and/or change of a phase or activity; social, historical, traditional, economic, political or other patterns. The dwelling at 402 Montreal Street has historical and social significance for its connection to Reverend John Aldred and Joseph Colborne Veel. The dwelling was built in 1878 when builder Henry Haggerty leased the property from the Rev. John Aldred and raised a mortgage to build on the site. Rev. Aldred, after whom Beveridge Street was once named, was an ordained Wesleyan minister, had arrived in New Zealand in 1840. He settled in Christchurch in 1854 as one of the first Wesleyan clergyman in the town and was granted land in Durham Street North by the Superintendent in 1856. Aldred was sent to Dunedin in 1864 but he later returned to live in St Albans. Haggerty encountered financial difficulties and sold the property to Dan Griffiths in 1882. Griffiths owned it for 10 years before Joseph Colborne Veel purchased part of the property in a mortgagee sale. Oxford-educated, Veel arrived in New Zealand in 1857, where he joined Page 1 the staff of The Press and subsequently became editor, a position he held until 1878. Veel also served on the Canterbury College Board of Governors and was secretary to the North Canterbury Education Board.
  • Peter Beaven 1

    Peter Beaven 1

    ITINERARY n.24 NOT ON MAP 2 3 5 6 9 13 10 4 11 8 7 12 1 : Stephen Goodenough Photo This itinerary looks at Peter Beaven’s architecture before his hiatus in London in the late 1970s and early 1980s. A forthcoming itinerary will look at the work he has completed since his return to NZ. Biography: Peter Beaven 1: The 60s & 70s Peter Jamieson Beaven was In 1972 an exhibition entitled “The New Romantics in Building” was held at the Dowse Gallery in Lower born in Christchurch on 13 Hutt, including work by Ian Athfield, Roger Walker, Peter Beavan, Claude Megson and John Scott. The August 1925. He attended show celebrated one of the high points of 20th century Kiwi architecture, as a cohort of designers spliced Christ’s College, deciding local and international influences with such audacity that it seemed, if only briefly, that the nation could to become an architect after host a globally significant stream of architectural development. Peter Beaven was one of the senior a conversation with Paul members of this group (he’s seventeen years older than Walker), but he had rapidly made the transition Pascoe. He studied at the from a more orthodox modernism to the adventurous, hippy-fied approach of the youngsters. Such School of Architecture at the slipping in and out of both the Kiwi and international mainstreams has been the hallmark of Beaven’s University of Auckland, his career. studies being interrupted by Beaven established his office in the mid-1950s and his early work sits comfortably within the restrained, war service in the NZ Navy.
  • David Ezekiel Benjamin, Later Known As David Edward Theomin, Was Born in Bristol, Gloucestershire, England, on 25 April 1852. Hi

    David Ezekiel Benjamin, Later Known As David Edward Theomin, Was Born in Bristol, Gloucestershire, England, on 25 April 1852. Hi

    David Ezekiel Benjamin, later known as David Edward Theomin, was born in Bristol, Gloucestershire, England, on 25 April 1852. His father, Joseph Benjamin, a Jewish minister, had emigrated from Prussia earlier in the nineteenth century and discontinued the name of Theomin. His mother, Esther Braham, was Joseph's second wife, and he had two half-brothers, one half-sister, and one sister. David was educated at Wharton's School in Queen's Square and then, from January 1862 to December 1864, at Bristol Grammar School. After serving an apprenticeship in the hardware trade, he worked for three years for Platnauer Brothers, merchants. In 1874 he sailed for Melbourne, Australia, where his half-brother, Abraham Benjamin, lived. There he worked for P. Falkand Company, wholesale jewellers. David Benjamin first visited New Zealand in 1878. On 29 November he was shipwrecked near Tauranga on the steamer Taranaki , but no lives were lost. By 1879 he was back in Melbourne, and on 21 January he married Mary Ann (known as Marie) Michaelis, eldest daughter of the successful businessman Moritz Michaelis. The couple were to have two children, Edward and Dorothy. On his return to Dunedin David Benjamin helped his father-in-law to develop a tannery business in Sawyers Bay. The firm Michaelis, Hallenstein and Farquhar (later incorporated as Glendermid Limited) was established in Dunedin in 1879. By 1880 the firm of D. Benjamin and Company had opened for business in Princes Street as wholesalers and general importers, and by 1881 David Benjamin owned a house in Royal Terrace. In 1885 David Ezekiel Benjamin resumed the surname his father had used in Prussia and by deed poll became known as David Edward Theomin.
  • JULIA GATLEY Architects Contents

    JULIA GATLEY Architects Contents

    Athfield Architects JULIA GATLEY Contents Preface Encounters with Athfield vii // Formative Years Christchurch and Beyond 1 From Student Projects to the Athfield House 10 // Happenings Early Athfield Architects 35 From Imrie to Eureka 48 // Boom Corporates, Developers and Risk 117 From Crown House to Landmark Tower 128 // Public Works Architecture and the City 187 From Civic Square to Rebuilding Christchurch 204 Past and Present Staff 294 Glossary 296 References 297 Select Bibliography 301 Index 302 uck and timing are often important in the development of observation about one so young and Athfield barely gave a thought architects’ careers.1 Ian Athfield was fortunate to spend time to any other possible career paths. Ashby also saw in Tony a potential in New Zealand’s three biggest cities at crucial periods in career in music.5 Ella took particular heed and prompted both her sons his formative years. Born in Christchurch in 1940, he grew to follow the teacher’s suggestions. Athfield soon took the initiative, Lup there and became interested in architecture just as that city’s convincing Tony that they should build a garage at the family home,6 young Brutalists – the so-called Christchurch School – were having surely an eye-opener for any young person interested in architecture. an impact on the urban fabric. He studied in Auckland in the early Len and Ella also encouraged both boys to learn music. They played in 1960s, when influential nationalist and regionalist protagonists a band together in their early teens. The collaboration did not last, but were teaching in the School of Architecture and the Dutch architect Tony progressed through a series of musical groups – Max Merritt and 1 Andrew Barrie, ‘Luck and Timing in Post-War Japanese Aldo van Eyck visited New Zealand to deliver inspirational lectures.
  • Exhibtion History 1999 – 2009

    Exhibtion History 1999 – 2009

    EXHIBTION HISTORY 1999 – 2009 Manufacturing Meaning: The University of Wellington Art Collection in Context 22 September 1999 ­ 31 January 2000 The inaugural exhibition of the Adam Art Gallery showcased ten key works from the university collection, spanning a period from the 1930s to the present. The works of Frances Hodgkins, John Weeks, Gordon Walters, Colin McCahon, Ralph Hotere, Michael Smither, Jacqueline Fahey, Richard Killeen, John Pule and Peter Peryer were each presented in relation to the artist's practice or ideas and issues raised by the work, and each was accompanied by a catalogue. Manufacturing Meaning offered important new insights into the history of New Zealand art, through the research and presentation of selected critical thinkers ­ curators, art historians, writers and artists Elizabeth Eastmond, Linda Tyler, Damian Skinner/ Ngarino Ellis, Ewen McDonald, Jack Body and David Crossan, Stuart McKenzie, Anna Miles, Greg Burke, Lisa Taouma, and David Maskill. Concept Curator Christina Barton Language Matters Mary­Louise Browne, Terrence Handscomb, L.Budd et al, Colin McCahon, Joanne Moar & Lucy Harvey, and Michael Parekowhai 11 February ­ 26 March 2000 Language Matters brought together six New Zealand artists who use language in their practice in varied forms and with diverse intentions. The exhibition acknowledged the pervasive presence of spoken and written language in contemporary New Zealand art. Curated by Christina Barton Guests and Foreigners, Rules and Meanings (Te Kore) Joseph Kosuth 2 March ­ 30 April 2000 Joseph Kosuth's installation Guests and Foreigners, Rules and Meanings (Te Kore) was the fifth in a series, situated in disparate locations: Oslo, Dublin, Frankfurt, Istanbul and Chiba City, Japan.
  • Roger Walker

    Roger Walker

    Roger Walker New Zealand Institute of Architects Gold Medal 2016 Roger Walker New Zealand Institute of Architects Gold Medal 2016 B Published by the New Zealand Contents Institute of Architects 2017 Introduction 2 Editor: John Walsh Gold Medal Citation 4 In Conversation: Roger Walker with John Walsh 6 Contributors: Andrew Barrie, Terry Boon, Pip Cheshire, Comments Patrick Clifford, Tommy Honey, Gordon Andrew Barrie Let a Thousand Flowers Bloom 40 Moller and Gus Watt. Tommy Honey Who Dares Wins 42 Gordon Moller Fun, Roger-style 46 All plans and sketches © Roger Walker. Patrick Clifford Critical Architecture 50 Portrait of Roger Walker on page 3 by Gus Watt Reggie Perrin on Willis Street 52 Simon Wilson. Cartoon on page 62 Terry Boon A Radical Response 54 by Malcolm Walker. Pip Cheshire Ground Control to Roger Walker 58 Design: www.inhouse.nz Cartoon by Malcolm Walker 62 Printer: Everbest Printing Co. China © New Zealand Institute of Architects 2017 This publication is copyright. No part may be reproduced or transmitted in any form by any means without written permission from the publisher. ISBN 978-0-473-38089-2 1 The Gold Medal is the highest honour awarded by the New Zealand Institute of Architects (NZIA). It is given to an architect who, over the course of a career (thus far!), has designed a substantial body of outstanding work that is recognised as such by the architect’s peers. Gold Medals Introduction for career achievement have been awarded since 1999 and, collectively, the recipients constitute a group of the finest architects to have practised in New Zealand over the past half century.
  • Major New Exhibition and Publication Celebrate the Life and Work of 20Th

    Major New Exhibition and Publication Celebrate the Life and Work of 20Th

    PRESS RELEASE THURSDAY 14 FEBRUARY 2019 Major new exhibition and publication celebrate the life and work of 20th-century trailblazer Frances Hodgkins Frances Hodgkins: European Journeys opens at Auckland Art Gallery Toi o Tāmaki, marking the 150th anniversary of the artist’s birth. Left Frances Hodgkins Wings over Water 1931–32 Leeds Art Gallery, Leeds Museums and Galleries, gift from the Contemporary Art Society, 1940 Photo: Leeds Museum and Galleries (Leeds Art Gallery) U.K. / Bridgeman Image Auckland Art Gallery Toi o Tāmaki presents Frances Hodgkins: European Journeys, a major exhibition of work by one of New Zealand’s most influential artists, opening Saturday 4 May. Frances Hodgkins: European Journeys is the culmination of a significant international project to bring together artworks from New Zealand and around the globe to explore the artist’s place in 20th-century art. The exhibition traces Frances Hodgkins’ creative and peripatetic life through France, Morocco and Spain to her final days in England, examining the influence of location on her development as a modernist painter and the notion of travel and journeying as a source of artistic inspiration. Born in Dunedin, Frances Hodgkins (1869–1947) left for Europe in 1901 and, by the late 1920s, had become an important figure within British Modernism, exhibiting with avant-garde artists such as Ben Nicholson, Barbara Hepworth and Henry Moore. With a professional life that spanned almost six decades, the two World Wars, and periods of massive social and cultural change, Hodgkins caught the spirit of a new age. Today, she is celebrated as one of New Zealand’s most successful expatriate artists of the 20th century, and has an ongoing legacy in both Europe and this country.